IMDb > Pulp (1972)
Pulp
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Pulp (1972) More at IMDbPro »

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Overview

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Up 51% in popularity this week. See why on IMDbPro.
Director:
Writer:
Mike Hodges (written by)
Contact:
View company contact information for Pulp on IMDbPro.
Release Date:
November 1972 (USA) See more »
Genre:
Tagline:
Write it. Live it. But try not to be it. See more »
Plot:
A seedy writer of sleazy pulp novels is recruited by a quirky, reclusive ex-actor to help him write his biography at his house in Malta. Full summary » | Add synopsis »
NewsDesk:
(21 articles)
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User Reviews:
An unregarded gem. See more (31 total) »

Cast

  (in credits order) (verified as complete)

Michael Caine ... Mickey King

Mickey Rooney ... Preston Gilbert

Lionel Stander ... Ben Dinuccio

Lizabeth Scott ... Betty Cippola
Nadia Cassini ... Liz

Dennis Price ... The Englishman

Al Lettieri ... Miller
Leopoldo Trieste ... Marcovic
Amerigo Tot ... Partisan
Robert Sacchi ... The Bogeyman (as Roberto Sacchi)
Giulio Donnini ... Typing Pool Manager
Joe Zammit Cordina ... The Beautiful Thing
Luciano Pigozzi ... Clairvoyant
Maria Cumani Quasimodo ... Office Manageress (as Maria Quasimodo)
Liù Bosisio ... 1st Typist (as Liu Bosisio)
Cristina Gaioni ... 2nd Typist
Janet Agren ... Publisher's Receptionist
Irene Sophie Opperman ... Coach Hostess
Iver Gilborn ... Coach Tourist
Elaine Olcott ... Coach Tourist
Ave Ninchi ... Fat Chambermaid
Ermelinda De Felice ... Woman in Barber Shop
Werner Hasselmann ... Tourist in Restaurant (as Werner Hassleman)
Louise Lambert ... Tourist in Restaurant
Victor Mercieca ... Prince Cippola
Cettina Borg Olivier ... Gilbert's Mother
Anna Smith ... Old Woman in Bar
rest of cast listed alphabetically:
Tondi Barr ... Gloria Swanson (uncredited)
Louis Caruana ... Toni (uncredited)
Mary Caruana ... Mae West (uncredited)
Anna Pace Donnella ... Jean Harlow (uncredited)
Cyrus Elias ... Guide (uncredited)
Jennifer Gauci ... Shirley Temple (uncredited)
Jeanne Lass ... Marlene Dietrich (uncredited)
Giuseppe Mallia ... Cripple Outside Bar (uncredited)
Roy Marmara ... Mario (uncredited)
Kate Sullivan ... Joan Crawford (uncredited)
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Directed by
Mike Hodges 
 
Writing credits
(in alphabetical order)
Mike Hodges  written by

Produced by
Michael Klinger .... producer
Michael Caine .... producer (uncredited)
 
Original Music by
George Martin 
 
Cinematography by
Ousama Rawi 
 
Film Editing by
John Glen 
 
Casting by
Irene Lamb 
 
Production Design by
Patrick Downing 
 
Art Direction by
Darrell Lass 
 
Costume Design by
Gitt Magrini 
 
Makeup Department
Paul Engelen .... makeup artist
Mike Jones .... hair stylist
George Partleton .... makeup artist
 
Production Management
Robert Sterne .... production supervisor
 
Second Unit Director or Assistant Director
Michael Dryhurst .... assistant director
Graham Easton .... assistant director (uncredited)
Malcolm Stamp .... assistant director (uncredited)
 
Sound Department
Peter Horrocks .... dubbing editor
Gerry Humphreys .... dubbing recordist (as Gerry Humphries)
Christian Wangler .... sound recordist
Richard Laughton .... boom operator (uncredited)
 
Special Effects by
Ron Ballanger .... special effects
 
Camera and Electrical Department
John Jay .... still photographer
Dusty Miller .... camera operator
Martin Evans .... best boy (uncredited)
 
Costume and Wardrobe Department
Philippe Pickford .... wardrobe master
Yvonne Zarb Cousin .... wardrobe assistant (uncredited)
 
Editorial Department
Max Bell .... assistant editor (uncredited)
Noel Rogers .... assistant editor (uncredited)
 
Music Department
George Martin .... conductor
 
Other crew
Claudio M. Cutry .... liaison: Italy
Joe De Blasio .... liaison: Italy
Doreen Dearnaley .... continuity
Tony Klinger .... liaison: London
Jean Lambdon .... unit publicist
Denton Scott .... production accountant
 
Crew verified as complete


Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
Runtime:
95 min
Country:
Language:
Color:
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:
Australia:M | Sweden:15 | UK:AA (original rating) | UK:12 (video rating) | USA:PG
Filming Locations:

Did You Know?

Trivia:
Mike Hodges always wanted Mickey Rooney for the role of Preston Gilbert, but did also consider Elisha Cook Jr. for the part for a time until Rooney committed to the film.See more »
Goofs:
Factual errors: In his narration, Michael Caine claims that five people were in their graves, as a result of the proceedings of the movie, but there were actually six: Preston Gilbert; the singer at Preston's banquet; the accordionist at the banquet; the servant at the poolside shooting ("the projectionist," according to Nadia Cassini); the old Italian who directed Caine to the beach; and of course, Jack Miller.See more »
Quotes:
Mickey King:She looked like a distant relative of Rocky Marciano. It looked like her honor was on the missing list. So was her cash. I got the feeling it was too late to retrieve either.See more »
Movie Connections:
References The Pink Panther (1963)See more »
Soundtrack:
Primitive PeopleSee more »

FAQ

This FAQ is empty. Add the first question.
27 out of 33 people found the following review useful.
An unregarded gem., 13 February 2003
Author: (j.pasteur@btinternet.com) from Norwich, England

"Can you walk a little faster?" said the whiting to the snail. "There's a porpoise right behind me, and he's treading on my tail..."

Michael Caine had a pretty good year in 1972. GET CARTER was one of his best-ever films, but he was also nominated, along with Laurence Olivier, for an Academy Award for his rôle in the film adaptation of Anthony Shaffer's stage play SLEUTH (neither of them got it, though - that year it went to Marlon Brando in THE GODFATHER).

More an off-beat comedy than a drama, PULP is a nice little blend of Alfie and Harry Palmer, and is a sadly unregarded gem that has nevertheless become a bit of a cult film loaded with many inside jokes. The 'three Michaels' - Mike Hodges, Michael Caine and Mike Klinger - may not have hit similar paydirt as with their GET CARTER, but the sheer knowing coolness of pulp writer Mickey King's (Caine) Chandleresque voiceover dialogue is carried off with caustic wit, panache and style ("The day started quietly enough, then I got up."); in fact, there are four Michaels if one adds Mickey Rooney - and a fifth if one includes the main character, Mickey King. Fearing possible stereotyping as a Hard Man, PULP was intended to be the opposite of Caine's hard-hitting Jack Carter character: affecting the relaxed raffish air of the self-satisfied ex-pat (he left London and his lucrative job as a funeral-director, and elbowed the wife and three kids), Mickey King glides about the Mediterranean in a dapper white corduroy suit, churning out cheap gangster fiction paperbacks under ludicrous aliases (Guy Strange, Gary Rough, Dan Wilde, Les Behan, newly-discovered Indian writer Dr. O.R. Gann, and struggling Nigerian author S. Ódomi) and hard-boiled titles (Kill Me Gently, The Kneetrembler and My Gun Is Long). In fact, his voiceover dialogue of heroic action is the opposite of his real-life reaction when confronted with dangerous situations - starting with a succession of taxis completely ignoring his hails!

Neatly filmed on Malta, G.C., the film is an odd joy from beginning to end, with little pastiches that are hommages to John Huston (the FBI agent who appears to be Bogart enquiring from whom appears to be Peter Lorre after what turns out to be a Maltese falcon ...) and wonderful quirky characters. King's publisher, Markovic, is "a Greco-Albanian born in Budapest" with a bladder problem. Obviously vegetarian, the Mysterious Englishman, Mr. Balmoral (Dennis Price), is reading Alice In Wonderland for the 118th time, and so well able to insult steak-eatin' folks from steak-lovin' Texas from it; could he be part of the developing mystery? Lionel Stander puts in a nice turn as a laid-back, ageing wiseguy ("His name was Ben Dinuccio. It was the nicest thing about him."). Starting at the Temples of Zonq, leggy Nadia Cassini (Liz Adams) shows why hotpants were - and still are! - great [Cassini went on to become a 1970s and 1980s starlet in Italian erotica and Trash flics]. Swarthy and moustachioed, Al Lettieri (Ben Miller) plays ... well, Al Lettieri, the stereotyped rôle he can never get away from: the 'heavy' - as he did in The Getaway and Mr. Majestyk - who dons the priest's garb and eventually meets with an undignified (for a heavy, that is) end. One of Gilbert's ex-wives, sexy-voiced Lizabeth Scott (Princess Betty Cippola) shmoozes suggestion as she knows The Establishment are really In Control of events (she calls her husband Dago).

But the real treat is Mickey Rooney as the faded film star, Preston Gilbert, ejected from Hollywood for his Mob associations. In a villa on a private island, with his deaf mother, companion Liz and his PR-man Dinuccio, semi-reclusive Gilbert lives the life of the wealthy idler reliving past glories by playing old 78s and corny soundbites from his Cagneyesque old gangster films, and inflicting practical jokes on unsuspecting tourists. Delightfully hamming it up, his poncing around in his skivvies [I creased-up at the double-mirror bit] and applying his toupée is a marvellous send-up of himself! With the Big Sleep approachin' Gilbert hires King to ghostwrite his lifestory plus a few revelations - "a death-rattle in paperpack, eh?" according to a sceptical King. Preston insists the book come with an opening quote from Samuel Goldwyn, "We all passed a lot of water since then."

Hodge's cutaway scenes show a nice eye for detail. Elections are due, so throughout there are street marches by elderly and not-very-impressive hangers-on of the New Front party of creepy law-and-order politician Prince Frank Cippola - a comment on then-topical real-life Prince Borghese and the quasi-establishment, certainly neo-Fascist, Spada movement. "The wizard ringing in," the dignified pain of ashamed former Partisan Signor Lepri, and the "retired gunman who drew too late - twice" supping cola at the 42nd Street Bar (King sits under a plaque saying Ave Maria) add to the quirky mystery.

Poignant are the closing scenes. Whilst King feverishly hammers out the imagined ending to his own ordeal (in which he re-uses passages from previous novels), Cippola's shooting-party have hounded a wild boar toward his shooting platform (in a scene that would be unacceptable today). Trapped, the wretched beast has nowhere to go. Safe from the boar's frantic attempts to charge the wire, it's an easy shot, no real competition. Having bagged his kill, unassailable aristocrat Cippola raises a glass of champagne to the camera. "I'll get you, you bastards ..." wails King, unable to scratch an itch ...

Yup, a gem.

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